ooththukkād venkata subbaiyer’s kāmākshi navāvaranam - a study

Ooththukkād Venkata Subbaiyer’s Kāmākshi Navāvaranam - A Study

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Ooththukkād Venkata Subbaiyer’s

Kāmākshi Navāvaranam - A Study

Proposal submitted to

Sree Sankarāchārya University of Sanskrit, Kālady

By

Anuradha Mahesh

[email protected]

November 2019

mailto:[email protected]


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1. Title of the Project: Ooththukkād Venkata Subbaiyer’s Kāmākshi Navāvaranam - A Study

2. Abstract:

As the title suggests, these krithis are in praise of Goddess Kāmākshi, the presiding deity of

Kānchipuram Temple. Navāvarana literally means nine veils of enclosure from Bhupura to Bindu

Sthāna. For over a thousand years in India, the worship of Devi has taken the form of worship of

the Sri Chakra; the divine yantra. As per this mandala, Sri Lalitha Tripura Sundari is seated at the

central point of the Sri Chakra and nine āvaranā-s, nine chakra-s and nine yogini-s lead up to her.

Venkatakavi is reputed to have got initiation into Āvarana Pooja from none other than Bhaskararāya,

who is considered to be next to Adi Sankara in the subject of Devi Upāsana. Bhaskararāya was a

celebrated authority on the philosophy and practice of Tantra Sāstra, especially on the Sri Vidya

Upāsana.

The word Navāvarana is very familiar to Sakthi upāsakās and the lovers of Carnatic music. The

latter associate with it the celebrated Navāvarana Krithis of Muthuswāmi Dikshitar. Decades

before Muthuswāmi Dikshitar’s āvarana krithis, Ooththukkād Venkata Subbaiyer composed a set

of krithis in Sanskrit known as Kāmākshi Navāvarana Krithis. The Kāmākshi Navāvarana Krithis are

the most esoteric set of krithis based on the theme of Srividya, that was composed first. The

intricate details mentioned and described with great felicity by the composer right from the

opening invocation - Sri Ganeshwara - to the last piece in Punnāgavarāli prove that his knowledge

in this area was very high indeed. Venkatakavi knew the intricacies of worship through mantra,

yantra and tantra and other aspects of Devi worship, though his ishta devatha was Lord Krishna.

These krithis numbering 14 (there are alternative krithis for 6th and 9th āvaranās), were divinely

inspired and exemplary pieces for both lakshya and lakshana values.

Sree Ganeshwara in Shanmukhapriya is the opening piece in the set. In the Pallavi lines itself he

has brought out the words Srividyopāsana Bhodakara, making it very clear that this composition

belongs to this set of Navavarana Krithis. Venkatakavi’s krithis are replete with madhyamakāla

sanchārās. For instance, the Devi Dhyāna Krithi in Raga Kalyāni is a colourful example of krithi

where he switches back and forth from normal speed to madhyamakālam. The emotional appeal

of these compositions and the intricacies of rhythm are noteworthy features.


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3. Objective and scope of the project

The objective of this work is to bring out the Intellectual, Aesthetic, Philosophical, and

Spiritual Aspects in addition to Structural, Musical, Literary and Thematic Analysis of these

compositions. It also highlights the following.

How the composer bring out the concept of Sri Chakra and its different aspects

The description of Āvaranas

The essence of Srividya Upāsana, Sri Chakra Rahasya and the Navāvarana method of

worshipping mother goddess.

How the composer draws inspiration from or relate his work to our rich heritage by

quoting directly from Lalithā Sahasranāmam which is a text in Brahmānda Purānam,

Taitthariya Upanishad and rare instances of Lalithōpākhyānam, Lalithā Thrishathi,

Soundarya Lahari, Srimad Devi Bhāgavatham and many other such purānic sources, using

different lyrical expressions.

Another objective of this study is to compare and contrast the two sets of Navāvaranams,

namely, Kāmākshi Navāvaranams by Venkatakavi and Kamalāmba Navāvaranams by

Muthuswāmi Dikshitar in a brief manner. These monumental creations of the great

vāggeyakaras reflects their philosophy, proficiency in Samskritham and their erudition in

Sangeetham, Sāhityam and Tālam along with devotion, intellect and a soul that was in a state

of spiritual bliss. The prāsa and other prosodic refinements in the krithis testify their command

over the language and gift of poesy.

These composers were not just familiar with purānic texts but have deeply internalized their

content and spirit and reproduced them in their Āvarana Krithis. In order to convey the great

divine truths to the common man in a simple straight forward way, Venkatakavi first composed

Kāmākshi Navāvaranams. Muthuswāmi Dikshitar, probably inspired by these Kāmākshi

Navāvarana krithis, later composed Kamalāmba Navāvarana Krithis. Both the vāggeyakaras

combined the music and meaning and elevated the krithis to an exalted plane. The singing of

these krithis is nothing but worship systematised by the rhythmic meters or talas, unfolding

the beauty of rāgās along with the scholarly lyrics thus presenting a fleeting glance of Srividya

Cult.


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4. Primary Source of References directly found in the krithis

Reference Sources

Brahmānda Purānam Soundarya Lahari Devi Bhāgavatham

Lalithōpākhyānam

Lalitha Sahasranāma Stotram Lalitha Thrishathi Stotram

5. Aim of the Project

Aim of this work is to introduce and popularize Kāmākshi Navāvarana Krithis among

common people in general and musically inclined souls in particular. As part of this project,

it is proposed to release a CD that contains the audio lessons of Kāmākshi Navāvaranams,

supported with notations.

The Krithis are as follows.

Sl.No. Song Rāga Tāla Remarks

1 Sri Ganeshwara Shanmukhapriya Adi Vināyaka stuthi

2 Vānchayasi yedi kushalam Kalyāni Adi Dhyāna stuthi

3 Santatam aham seve Desākshi Adi 1st āvaranam

4 Bhajaswa sri tripura sundari Nādanāmakriya Adi 2nd āvaranam

5 Sarva jeeva dayāpari Shuddhasāveri Misra Chappu 3rd āvaranam

6 Yogayogeshwari Anandabhairavi Khanda Triputa 4th āvaranam

7 Neela lohita ramani Balahamsa Khanda Dhruvam 5th āvaranam

8 Sadānandamayi Hindolam Sankeerna Matyam 6th āvaranam

9 Sakala loka nāyike Arabhi Adi 7th āvaranam

10 Shankari sri Rajarajeshwari Madhyamāvati Adi 8th āvaranam

11 Natajana kalpa valli Punnāgavarāli Adi 9th āvaranam

12 Haladharānujam Manirangu Adi Phala stuthi


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6. Chapterisation

The entire project is thought to be divided into the following chapters in the initial stage.

Chapter 1 - Introduction

Chapter 2 - Sree Chakram - A Note on Tantra and Yantra Sāstra

Chapter 3 - Biography of Ooththukkād Venkatakavi and Muthuswāmi Dikshitar

Chapter 4 - Kāmākshi Navāvaranams and its key features

4.1 Introductory note to explain the salient features of the Sāhityam.

4.2 Text of the Sāhityam transliterated in English

4.3 Meaning of the Krithi

4.4 Structural Analysis of the krithi

4.5 Musical Analysis of the Krithi and Specialty in the rhythmic structure,

Kalai change and Gathi Change within the composition

4.6 Literary / Prosodical Beauty figured in the compositions

4.7 Usage of Manthra Syllables and Chakra names and the purānic

sources referred by the composer

4.8 Comparing /Contrasting Kāmākshi Navāvaranams with that of

Muthuswāmi Dikshitar’s Kamalāmba Navāvaranams

Chapter 5 - Conclusion

7. Hypothesis

These garland of songs can be amazingly related to several Purānās, Upanishads and

ancient treatises. This research project humbly begins with the hypothesis that the

Kāmākshi Navāvaranams can bring into focus the ancient purānās from which the

composer has coined in various phrases and words. Secondly, how the composer has

connected the meters used in Sanskrit with the inbuilt rhythmical structure in the musical

setting of these krithis.


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8. Phases of the Project

This work is to be accomplished in the following phases:

Collection of data sources namely printed books, articles and journals pertaining to these

āvarana krithis

Collection of Audio sources of Kāmākshi Navāvaranams and Lecture Demonstrations.

Meeting musicians who are familiar and well versed with these āvarana krithis and

enquiring their insight about these compositions

Transcription into musical notation

Preparation of final product – Book & CD

Evaluation and publication

Popularising the product amongst musicians and music lovers.

9. Implications

Not many studies have examined the in-depth analysis of Kāmākshi Navāvaranams within

the musical fraternity. Such an analysis will throw more light into the Srividya Cult and

Upāsana by singing these Āvarana Krithis.

Navāvarana pooja is the form of worshipping Goddess in the form of Sri Chakra. The Tantra

Sāstra says that the worship of any deity can be conducted in Sri Chakra, as this is the

foundation, basis and continent for all other chakras. The Navāvarana pooja forms the

mantric-tantric ritualistic part of Devi worship, associated with the Sri Chakra. Sri Chakra is

the most auspicious one that does the highest good for the devotees. That’s the reason for

the installation of Sri Chakra in centres of worship. Achārya Sankara is celebrated for

arranging such installations in the centres of worship he visited during his digvijaya yātra.

Unlike Navāvarana pooja, rendering the Navāvarana krithis do not need any initiation.

Anyone who has learned these krithis can sing them. And if that person has an

understanding of the meaning of the krithis, particularly the significance of the terms and

expressions used therein, he/she will have an elevating experience. These Navāvarana

krithis have a four-fold excellence. They are melodiously captivating, poetically superb,

musically well-structured and morally elevating. The rhythmic structure in compositions

are very unique bringing in variety of talas from simple Adi Tālam to complex Tālas like


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Khanda Dhruvam, Sankeerna Matyam, and Khanda Triputa. In addition to this there is Kalai

/Gathi change in a couple of these krithis.

Use of meters is one of the significant contributions of Venkata Kavi to Carnatic

compositions. For instance, the krithi Neelalohitharamani in Rāga Balahamsa, is set to

Khanda Dhruva Tālam. Khanda Druvam that has 17 units, can be related to the Sikharini

Meter used in Soundaryalahari Stotram of Adi Sankara. There is no doubt that Venkata

Kavi’s Navāvarana krithis blend intellectual, aesthetic, rhythmic, lyrical, esoteric and

spiritual aspects in a manner that uplifts musicians, students and music lovers as well as

practitioners of Sri Chakra worship.

The Navāvaranams ultimately exemplifies the Shiva Sakthi Aikyam. Special reference is made

to the Bindu Chakra - the Sarvānandamaya Chakram where HER Majesty Mahā Tripurasundari

resides with HER Consort as Kameswara and Kameswari. The concept advaitha bhāvana or Aham

Brahmāsmi were duality merges to Pure Consciouness is reflected in this Chakra.

Siva and Sakthi are like the lamp and the light, the flower and its fragrance, honey and its

sweetness, milk and its whiteness, word and its meaning, Sun and its heat, Moon and the

moonlight, grain and oil etc. They exist together. The bottom line is we cannot separate

milk from its whiteness or flower from its fragrance. Similarly in all aspects of Sakthi, Sivam

has to be present. A very sincere upāsaka will experience this bliss within himself/herself

by meditating on these Āvarana krithis.

10. References

Kāmākshi Navāvarana Krithis - A Study of Sāhitya – S.Sankaranārayanan

Ooththukkād Venkatakavi - Life and Contributions – Chitravina Ravikiran

1998- Page 111 –Kamalamba Navāvaranam – TS Pārthasārathy - JMA

July-Sep 2009 – Shanmukha Journal - Page 14-18- Chitravina N.Ravikiran

April-June 2012- Shanmukha Journal -Page 16-

Journals of Music Academy Chennai

Another Garland – N.Rājagopālan

Soundaryalahari

Lalithōpākhyānam, Lalitha Sahasranāmam

Lalitha Thrishathi, Devi Bhāgavatham

शुभं

ooththukkād venkata subbaiyer’s kāmākshi navāvaranam - a study

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